Recently in Recordings
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
23 Jul 2006
MENOTTI : Concerto for Violin and Orchestra / Cantilena e Scherzo / Canti Della Lontanza / Five Songs
Most Opera Today readers are probably familiar with Gian Carlo Menotti largely through his operas (The Medium, The Consul, Amahl and the Night Visitors, The Telephone, and others), and, if they teach or coach voice, may be more familiar than they’d like to be with pieces like “This is my box” and “Monica’s Waltz”, which have long been mainstays of the
“American aria” branch of repertoire for young singers.
instrumental music, and even his songs, are likely to be unfamiliar
territory. At least they were for me, and would have remained so, if this CD
had not shown up on my radar screen because the final 30 minutes or so of the
71-minute program comprise two sets of Menotti’s songs, performed
beautifully by Christine Brewer and Roger Vignoles.
Both of these artists bring their considerable talents to presenting these
songs, and the resulting performance certainly makes a case for the songs to
be better known. Unfortunately, the listener is given little help in this
area because the texts (written by Menotti himself) are not included in the
booklet. We find out that Elisabeth Schwarzkopf commissioned the Canti
della lontananza and are told that the songs are said to have been
written in response to the departure of Menotti’s partner, Samuel
Barber, from their life together. And, since Brewer’s English diction
is quite good, a determined listener (e.g. one who has to write a review) can
catch about 90% of the words to the Five Songs, enough to get the sense of
what the songs are about. And perhaps a fluent Italian speaker can do the
same with the Canti della lontananza, but I had to go through a
network of colleagues to find a copy of the Italian texts, and work out my
own translations from that—again, enough to know what the songs are
about. But how many listeners are going to work that hard? Whether
attributable (charitably) to copyright difficulties or (uncharitably) to a
producer whose background may be so firmly in instrumental music as to be
unaware of the importance of text in vocal performance, this is a grievous
These songs have been likened to operatic scenas, and in some spots they
do sound that way, particularly at the end of “La Lettera”, when
Brewer brings her full vocal and emotional force to express a phrase that
calls for it. But I hear a great deal of intimacy in these pieces, and the
piano line is as important as the voice in many places. I would not say the
texts are truly poems so much as an attempt by a sensitive and observant mind
to make sense of one’s feelings (or, at some points, one’s
curious lack of feelings) in the course of letting go of a relationship
(which is why it is easy to believe that they could have been written in
response to such an experience). Consistent with Menotti’s musical
work, the pieces are tonal, and the 1983 Five Songs in particular
are quite melodic. The Canti della Lontananza, while certainly not
completely declamatory or unmusical, sound more melodic in this performance
than perhaps they really are: one of the strengths that Brewer brings to this
music is the ability to sing a rather unlikely vocal line with expressive
phrasing and consistency between registers so that the line flows very
naturally. While there is a general sense of melancholy and loss pervading
both sets, songs like “My Ghost” and “Il settimo bicchiere
di vino” have a light enough touch to keep the keep the mood from being
too much of a downer.
Fans of Christine Brewer will not be disappointed in her performance of
these songs. Listeners whose main interest is in the songs themselves should
know that there is another recording of them available on Chandos, which I
have not heard, but it’s possible that the texts are included, which
would be a big plus. Those primarily interested in vocal music might also
prefer the other disc because it includes Menotti’s opera
Martin’s Lie, which may be even more of a rarity than the
passionately lyrical 1952 violin concerto, which receives a masterly
performance on this disc by Ittai Shapira and the Russian Philharmonic
Orchestra under Thomas Sanderling, and the charming 1977 Cantilena e Scherzo
for harp and string quartet, equally well served by the Vanbrugh Quartet and
harpist Gillian Tingay.